CREATING
COMICS
from start to finish
Top Pros Reveal the
Complete Creative Process
Buddy Scalera
Creating Comics From Start to Finish. Copyright 2011 by Buddy Scalera. Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by IMPACT Books, an imprint of F+W Media, Inc., 4700 East Galbraith Road, Cincinnati, Ohio, 45236. (800) 289-0963.
First edition.
Other fine IMPACT Books are available from your local bookstore, art supply store
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Library of Congress Cataloging in Publication Data
Scalera, Buddy
Creating comics from start to finish / Buddy Scalera. 1st ed.
p. cm.
Includes index.
ISBN 978-1-60061-767-6 (pbk. : alk. paper)
eISBN 13: 978-1-4403-1517-6
1. Comic books, strips, etc. Technique. I. Title.
NC1764.S33 2011
741.5'1 dc22
2010039542
Edited by Kelly Messerly and Stefanie Laufersweiler
Production edited by Sarah Laichas
Designed by Wendy Dunning
Cover art by Alan Evans
Production coordinated by Mark Griffin
DEDICATIONS
To Janet
Without you, none of this stuff matters.
To Danielle and Nicole
You are Daddy's dreams come true. Daddy and Mommy love you unconditionally, and we want you to explore your own dreams. Be yourself; we will love you no matter who you become.
To Dad and Mom
Thank you for pushing me to try harder and making me read something other than comic books.
ABOUT THE COVER ARTIST
In the mid 1960s, Los Angeles coughed up Alan Evans, a kid who freaked his parents out by drawing people starting with their fingers. Then came mazes on graph paper, imaginary maps, ads for the phone book, medical illustrations, car brochures, beverage packaging, digital photography, a break for lunch, X-Men for Marvel, animation, video compositing, film effects, and now design for virtual worlds and that cool trick where you trace around your hand to make a turkey for Thanksgiving. Alan now lives in the Pacific Northwest and wonders when it's gonna stop raining. Alan's artwork opens many of the chapters of the book and appears on the cover. See more of his amazing art at www.alanevans.biz.
ABOUT THE AUTHOR
Buddy Scalera is a writer, editor and photographer. He is the author of the popular Comic Artist's Photo Reference book and CD-ROM series for IMPACT Books, and he is also known for his best-selling series of photography CD-ROMs, Visual Reference for Comic Artists. He has written for many mainstream comics, including Marvel Comics' Deadpool, Agent X and X-Men Unlimited, and he also contributed to Marvel's all-ages series Lockjaw and the Pet Avengers. On the indie side, he has written and self-published several comic books through After Hours Press (www.ahpcomics.com) with business partner Darren Sanchez, including Necrotic: Dead Flesh on a Living Body, 7 Days to Fame, Bonita Clyde and Parts: The SitComic. Buddy's written over one hundred articles on comics for Wizard, Comics Buyer's Guide and SPIN magazine online, among others, and he was the creator and editor of Wizard Entertainment's Wizard World and Wizard School websites. Buddy has hosted and organized workshops and panels at major conventions in New York, Chicago and Philadelphia, and he served as programming manager for the 2009 Long Beach Comic Con in California. Visit his website at www.buddyscalera.com (email at buddy@buddyscalera.com).
ANOTHER
PRODUCTION
AND THANK YOU TO
Mike Marts, Mark Waid, Chris Eliopoulos, Brian Haberlin, Rodney Ramos, Darick Robertson, John Cerilli and, of course, Joe Quesada and Stan Lee all for making the time for interviews and for sharing so much of yourselves for this book.
Jim McLauchlin of The Hero Initiative and Mike Kelly of POW! Entertainment for connecting me with Stan Lee.
George Beliard of Marvel Comics for helping me connect with Joe Quesada.
Dan Reilly for key reference materials.
Fred Pierce for allowing us to use Valiant images.
Stefanie Laufersweiler and Kelly Messerly for the top-notch editing on this project. You guys made every page and every chapter better than I could have done alone.
Pam Wissman for opening the doors and welcoming me into IMPACT. You made all of this possible.
Alan Evans for (yet another) great cover. It's good to be a team again.
Designer Wendy Dunning, production editor Sarah Laichas, copyeditor Jeff Suess, proofreader John Kuehn, indexer Kathleen Rocheleau and production coordinator Mark Griffin.
Special thanks to my transcribers Misha Stewart and Amy Jeynes.
INTRODUCTION
THIS IS YOUR LAST CHANCE. After this, there is no turning back. You take the blue pill the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill you STAY IN WONDERLAND, and I show you how deep the rabbit hole goes.
Morpheus to Neo in The Matrix
You may not want to read this book. There's stuff in here that will change the way you read comics. I'm not kidding. Let me tell you a quick story, just to prove my point.
Back when I was starting college I became interested in film studies. This was way back before comics had gained the level of mainstream respect that they enjoy today, so if you wanted to learn about visual storytelling, film was the way to go. Like comics, you could tell stories and communicate with words and pictures, so film was an irresistible magnet for comic geeks like me.
In a lot of ways, film studies are a great way for comic book fans to analyze and understand the nature of visual storytelling. The two mediums film and comics have much in common. Of course, these days, many educational institutions teach comic book curriculum, so your learning options are much broader and more relevant.
Still, you may not want to read this book. It's going to do for you what film school did for me. It's going to ruin the mystique.
They warned us on the first day of class that the critical analysis of film will reveal the language of the medium. It will uncover the techniques, the business and the tricks of the art form. That kind of understanding and enlightenment strips away the magic to reveal how the trick works.
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